This is the Big Band Masada project you’ve been waiting for. Led by composers Sam Eastmond and Nikki Franklin, The SPIKE Orchestra is a large ensemble that draws on a wide range of influences including Duke Ellington, Frank Zappa, Carl Stalling, Zorn and more. Melding jazz, rock, klezmer, cartoon and the avant-garde into a compelling and cohesive vision, this new Angels installment is one of the most imaginative and manic masterpieces in the whole series. An outrageous and explosive swinger that will thrill even the most hardened skeptic. Essential.
Inspired both conceptually and aesthetically by the bootlegs of yore, the very authorized and very corporate Trademark of Quality promo release assembles 18 previously unissued cuts from the then-current Warner/Reprise roster; designed as an instant collector's item, the cover warns retailers and journalists, "When you see it a few years from now, propped up behind the register of your favorite used record store, selling for some obscenely high price, you'll wish you'd kept it…and probably not just because of its resale value," and, hyperbole aside, it's well-worth owning even beyond its Holy Grail status. Several of the tracks – American Music Club's haunting "Love Connection N.Y.C.," the Poster Children's cover of Bob Dylan's "Isis," the Muffs' incendiary "Lucky Guy," and John Wesley Harding's autumnal "Your New Clothes" among them – rank alongside their creators' very strongest work.
Weber’s chamber music – just these three pieces if you don’t count the duos – clearly shows him on the cusp between Classical and Romantic. The Quartet for piano and strings, written in his early twenties between 1807 and 1809, begins with a Haydnesque gracefulness and politeness which is gradually invaded by more unruly harmonies and textures; the dramatic slow movement looks ahead to Schumann, while the closing fugue of the finale dresses 18th-century procedures in 19th-century colours. Then there’s the element of virtuosity which is a hallmark of the early Romantic era, in the showy piano part of the Quartet, which Weber wrote for himself, the concerto-like clarinet part in the Quintet with strings, designed for the pioneering Heinrich Baermann, and all three parts of the tuneful Trio for flute, cello and piano. The talented members of the pan-European Gaudier Ensemble are perfectly equipped to convey these different aspects of Weber’s musical personality, with the fleet-fingered pianist Susan Tomes leading the way in the Quartet and Trio, and Richard Hosford in the Clarinet Quintet recalling contemporary descriptions of Baermann’s own effortless brilliance.
Véritable réaction au néoclassicisme envahissant le XIXe siècle, le romantisme marqua une réelle fracture intellectuelle. Rencontré dans les textes de Victor Hugo, de Lord Byron, ce courant s'exprima en peinture dans la touche d'Eugène Delacroix, de Caspar David Friedrich ou de William Blake. En sculpture, François Rude montra le chemin de cette nouvelle liberté artistique, dotant ses réalisations de mouvements et d'expressions qui étaient jusque-là inconnus. …